Well typically I'd be more likely to go for something like this:
There are some avant garde "discordant" pieces I like, but it's a rare mood.
Well typically I'd be more likely to go for something like this:
There are some avant garde "discordant" pieces I like, but it's a rare mood.
Does it get better when you know it well? Anticipating the path of the solos is crucial, I imagine, when there are about nine of them, and all, to the untutored ear, on pretty random notes not really affiliated with any of the nice keys.Originally Posted by Dr Headgear - Wannabe viking
I'm not saying you should never play off the nice notes, but I prefer it done in passing, and on the way to the harmomic stuff rather than a destiny itself. I heard it said once that the Beatles resurrected proper classical music, with an adherence to the mathematical laws that make western music harmonic, which had been abandoned by 20th century classical and jazz's experimentalism. I like the nice notes, you see. Played in a line, as melody, on together, as harmony.
Now, some more of what I like that can be considered in the jazz camp.
Hmmmm....
Work Song was one of the more straight ahead hard bop tunes. Lot's of notes, sure, but very few breaking the harmonic underpinning of the tune, which is a basic 16 bar minor blues. I suspect if you transcribed the solos and played them on electric guitar with a bit of feedback they wouldn't sound out of place. Mostly pentatonic, with some blue notes that add colour and tension/resolution, and some chord substitutions (also to add colour and tension/resolution). It's well on the funkier/bluesier end of the jazz spectrum.
For a real masterpiece in tension and resolution, you can't beat Coltrane's A Love Supreme album. He doesn't actually play that many different notes, but has huge variation in his phrasing and combination of them. It's incredibly powerful, almost visceral. Definitely not noodling! You can hear pain, passion, ecstasy in every note. Also worth thinking about in terms other than harmony/melody/rhythm - the tonal texture, for instance, the soundscape. We're used to describing Phil Spectors "wall of sound", for instance, or understanding hard rock as something that blasts you away, but similar things were happening in jazz.
I don't think you'll like it, but I dare you to listen to it all the way through (or experience it, more let it wash over you - just like an acid trip, if you try too hard to understand, control or fight it you'll have a **** time). Just the first 4 parts (the rest is just extras), a little over half an hour.
PS - yes it does grow on you. I didn't like it when I was younger, it's not particularly accessible or easy listening. Now I know almost every note by heart.
PPS - I love a bit of The Duke as well, cheers
I think I'm contractually obliged to post...
Thank you, Jorge. I feel better already.
Well you were clearly pining for the old awimb.
:miver: :****blanket:
Indeed.
I may have to abuse bernie for being a disgusting flatviewer. Totally ****s up any and every threaded view, the ****.
Ok, will try and give it a go later. Had a quick shufti - The Sweeney at 1:04! Nice.
You'll hate it
Incidentally, when we're talking about noise, atonality, walls of sound etc - where do you stand on, say, Velvet Underground?
I already mentioned European Sun above. I was ok with the Velvets when young and stoned. Less so now, but still like some songs.You'll hate it
Incidentally, when we're talking about noise, atonality, walls of sound etc - where do you stand on, say, Velvet Underground?
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